Reykjavík Grapevine - 15.08.2008, Blaðsíða 26

26 | REYKJAVÍK GRAPEVINE | ISSUE 12—2008
ARTICLE BY vALuR gunnARSSon — ILLuSTRATIon BY BoBBY BReIðHoLT
“I have seen rock‘n’roll future and its name is
Bruce Springsteen.” This is one of the most fa-
mous lines in rock history and was written by then
critic Jon Landau in Boston’s Real Paper in 1974.
In a sense Landau was prophetic, as Springsteen
became one of the biggest stars of the following
decades and, along with U2 roughly ten years lat-
er, can be called the last true superstar of rock –
someone who had cross-generational appeal and
can fill football arenas again and again. In a sense
they were also a self-fulfilling prophecy, launching
both Springsteen’s career and later Landau’s as his
manager.
What they did not do, however, was point to
the future of rock and roll. Springsteen’s success
came not because he had something radically
new to offer, but because his music reminded peo-
ple of the 50’s and 60’s, when rock seemed more
vital than it did in the mid-70’s, or indeed since it
has since. Bruce was called “the saviour of rock
and roll,” as by this time it was obvious that rock
needed saving. Others have had to labour under
the same assumption since. But can rock and roll
really be saved? And should it be?
Legend has it that rock and roll was formed
through a fusion of styles that can essentially be
traced back to European folk, mostly from the
British Isles, on the one hand, and with African
rhythms on the other. It was a combination of
musical forms derived from African slaves in the
American South and white working class labour-
ers. It is certainly true that rock‘n’roll first came to
prominence in the American South, through the
music of Chuck Berry, Little Richard, Elvis Presley,
Jerry Lee Lewis and many others. The first wave
petered out in the late 50’s and early 60’s, and for a
while it seemed as if the short lived phenomenon
might die out.
But under their influence new bands were
formed in London and Liverpool, and it fell to
Britain to revitalise rock and export it back to the
USA. This was the first British Invasion. Rock con-
quered the world, but ever since it has had its twin
headquarters in the US and the UK, bouncing back
and forth every few years. As the British Invasion
petered out in the later 60’s, the West Coast of the
United States responded with Acid Rock, then the
Brits broke out Glam Rock in the early 70’s. Both
New York and London can claim to have spawned
punk, if vastly different types of punk. Since then,
Rock may not have made as serious an attempt to
reinvent itself, but it’s still bands from the US or the
UK that keep the cash registers (or the download-
ers) busy.
SIR ROTTEN
It is not surprising that the United States should
be home to the world’s most popular music. In
the 50’s, and indeed throughout the latter half of
the 20th Century, that is where most of the world
looked for their entertainment. This also holds
true for most other forms of pop culture, design,
art, even literature. Before the Second World War,
other countries, particularly Germany, had com-
peted in putting out films, but after 1945 the US
hold on our movie and TV screens has been al-
most complete.
It may be a bit surprising then that Britain
has performed so well in music, whereas at the
movies they have only occasionally managed to
compete with the Americans when it comes to
box office success. Perhaps the reason is that as a
smaller country they don’t have the money it takes
to compete with Hollywood blockbusters, but re-
cords are cheaper to make.
In any case, Rock music is a big part of how
Britain defines itself, from Swinging London to
Cool Britannia. Paul McCartney’s become a Sir, so
is Mick Jagger, and it wouldn’t be that surprising
if John Lydon were to enter their ranks before too
long. Perhaps Oasis are even partially to blame for
Tony Blair, who felt compelled to invite Noel Gal-
lahager to his inauguration party.
THE SWEDES TAKE OvER
Most of the biggest rock stars to be born outside
of the twin towers of the US and the UK hail from
other parts of the English speaking world. Canada
has given us Leonard Cohen and Neil Young as
well as Alanis Morissette; Australia has artists as
varied as AC/DC, The Bee Gees and Nick Cave.
Ireland as also had a clear avenue to the outside
world, U2 being probably the biggest band to be
born outside of the US and UK.
The non-English speaking country that has
done the best in popular music, however, is Swe-
den. Abba are no doubt the biggest band ever
with a non-native English speaking background,
having sold more than 150 million records. In their
wake have come a host of others, such as The Car-
digans, Ace of Base and The Hives.
Larger European countries have fared
worse. Any casual listener would be hard pressed
to name many French rock stars, even if Serge
Gainsbourg is hugely influential in some circles.
Same goes for Germany (Rammstein), Italy (Zuc-
chero) and Spain (Julio Iglesias, perhaps). It seems
that being born English speaking is a distinct ad-
vantage. And if not, then it is best to come from a
country with a small home market and good Eng-
lish proficiency, such as Sweden.
Musicians from further afield have had
little luck. Bob Marley was the first major star to
emerge from the developing world, but no one of
his stature has arrived since. It is mostly the Latin
Americans that have managed to produce lesser
pop stars, such as Ricky Martin and Shakira.
THE LANGuAGE Of ROCK
Is it likely, then, that the Anglo-American strangle-
hold on Rock will be broken? In a word, yes. After
the end of the Cold War and with the advent of
the internet, more than ever, Rock has become a
truly global phenomenon. It is no longer just boys
on the Mersey or in the American South who play
guitars, even if it has taken them a long time to
break into the mainstream.
However, the globalisation of rock has been
going on for a long time. What will more likely
make the difference is that there is now springing
up a generation of people who are non-native Eng-
lish speakers, but who speak the language with
both skill and ease. For even if the centre of grav-
ity for popular music will move away from the US-
UK axis, it seems almost certain that English, as
the lingua franca of the internet age, will remain
the voice of rock. This will probably hold true
even if the native English speaking countries con-
tinue their political decline, in the same way that
Latin remained the language of cosmopolitans for
a millennium after the fall of the Western Roman
Empire.
THE DECLINE Of THE WEST
Neither London nor New York has come up with
anything truly groundbreaking since hiphop, and
that was already 25 years ago. Meanwhile, Icelan-
dic artists such as Björk and Sigur Rós are mak-
ing some of the most innovative music around.
The next groundbreaking merger since blues and
country might happen in an out of the way place
like there.
In any case, it will most likely be a fusion of
Anglo-American Rock with local styles. This is al-
ready happening in many places, but it will prob-
ably be the large countries in Asia that will begin
to make themselves felt before too long. No doubt
we will at some point have Chinese rockers who
fuse their own tonal system with that of the west.
THE BENGALI BOB DYLAN
But it is India that has a distinct advantage, having
not only millions of people already proficient in
English, but also many contacts in London, which
is still the starting point to the rest of Europe when
it comes to pop music. In fact, Indian music has
influenced rock since early on. The Beatles went
to India and even before then the sounds of the
sitar started popping up on their albums. In the
90’s, pop stars with Indian roots were heard in
Britain, with bands such as Cornershop and Asian
Dub Foundation. But, with all due respect to Ravi
Shankar, we have yet to see the Indians exporting
pop back to Britain, the way Britain did with the
US in the 60’s. No doubt it will happen at some
point, though. Perhaps the coffee shops of Cal-
cutta are where we should start looking for the
next Bob Dylan.
AirwAves 2012: who'd hAve Guessed rockin' nizAmuddin would finAlly surpAss björk?
The Future of Rock and Roll
Is India the next Manchester?
With the world shrinking at a
continuously faster pace, far away
places are being exposed to west-
ern popular music and rock. Will
this mean that the next pop music
superstar is currently tuning his
shitar on the streets of Mumbai?
BuT, wITH ALL Due ReSpecT To RAvI
SHAnkAR, we HAve YeT To See THe
InDIAnS expoRTIng pop BAck To
BRITAIn, THe wAY BRITAIn DID wITH
THe uS In THe 60’S. no DouBT IT wILL
HAppen AT SoMe poInT, THougH.